It’s a shame the only question people are asking about The Reader is ‘does it live up to the hype’. After watching it, that barely seems the point. But, just for the record, it really does. It is subtle, complicated, involving and thought-provoking. It’s filled with nudity that doesn’t feel gratuitous (… well, except for one scene that seems aimed purely at proving Kate Winslet’s flexibility), and layered with some fascinating ideas.
Winslet plays Hanna Schmitz, a tram conductor in 1950′s Germany who draws a 16 year old boy called Michael into a passionate affair that ends abruptly when she disappears. The title of the film refers to that fact that before making love Michael reads to her. Years later, he comes across Hanna again while observing a war crimes trial as a law student. As the film progresses we witness the crippling effect the relationship has on Michael (played by Ralph Fiennes in adulthood) throughout his life.
The above summary does not do justice to the tonal shifts of the film. The movie begins as something highly personal, a coming of age story, before transitioning into a reflection on what it was to be German post World War II. Ultimately, it becomes personal once more, the sum of its parts lace together for a sad, and lonely ending with the slightest hint of hope.
Firstly, to the issue on everyone’s mind, did Winslet deserve the Oscar? I am going to go out on a limb and say that, despite still having to tick her competitor’s performances off my viewing list, she definitely did. Somehow she brings a sympathetic edge to a cold, and brutish character, only to snatch it back whenever we are becoming too close to her. At handpicked moments we are reminded she is taking complete advantage of a vulnerable 16 year old, and what’s more, she is a war criminal. Her occasional shining moments of humanity, her attempts to better herself, are made all the more heartbreaking by her stubborn refusal to see the full horror of what she has done. This is not a holocaust apologist movie, but rather one that allows us to see the all too human face of the masses that unquestioningly fell into line with the Nazi policies. It’s a shocking reminder of how easily a group of people can be led down a heinous path.
This movie considers what it must have felt like to be German after the atrocities of the Holocaust. The sense of shame among the student characters in one scene in particular is palpable. What’s more, the idea of non existent justice is truly driven home by the character of Rose Mather, one of Hanna’s victims. Her quiet pride, and the internal pain that flows from her years after the events show that these were the type of wrongs that could never be righted.
Back to Winslet, it’s time to address the colossal level of calculation involved in suggesting her role is somehow a supporting one. You’ll recall she won the Golden Globe for best supporting actress. The whole thing smells so badly of campaigning it is a depressing indication of everyone priorities. Thankfully the Academy chose to ignore this suggestion, and nominate Kate in her rightful place.
What surprises me a little is that David Kross, who plays the Michael for most of the film, didn’t garner any recognition. His was one of many unsung contributions that helped deliver an impressive, moving and personal film on a troubled and shame-filled era.
